Through the Lens: Zicky Le
Representing the queer community in Myanmar
‘Through the Lens’ is a series that explores in detail images from fashion image-makers in Southeast Asia, shining a light on their creative and technical processes.
Based in Yangon, Zicky Le is a Burmese-Karen image-maker whose practice uncovers narratives from everyday subjects and surroundings. His visual imagery highlights the topic of queer identity and communities within the cultural landscape of Southeast Asia. In this conversation, Zicky reflects on ‘Lest We Die Unbloomed’, a passion project he conceived last year in collaboration with other Burmese queer practitioners, and how the image series contributes to representing a voice for the queer community in Myanmar.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Could you describe ‘Lest We Die Unbloomed’ and the concept behind it? How did you arrive at it?
‘Lest We Die Unbloomed’ is an image series I created with fellow Burmese queer artist, Swannie Dean. The inspiration stemmed from our rage at having to consume how local media and films portray Queer characters as mere jokes and caricatures throughout our upbringing.
What do you wish to communicate through this image series?
The society in Myanmar and the military junta have been erasing our stories and existence as queer individuals and we want to resist this. The ongoing spring revolution that started in February 2021 is more than just an overthrow of the military regime. We are revolutionising the decades-old social stigmas and taboos around the queer community that they have perpetuated. This project is our attempt to contribute to the cause, by proudly showing our beauty, power, and existence.
“We are revolutionising the decades-old social stigmas and taboos around the queer community that they (the society in Myanmar and the military junta) have perpetuated. This project is our attempt to contribute to the cause, by proudly showing our beauty, power, and existence.”
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Which photographer and/or artist’s work has inspired you most in the making of ‘Lest We Die Unbloomed’ or in general?
To name a few, they would be photographers Ren Hang and Tyler Mitchell, film director Luca Guadagnino and poet Ocean Vuong. I also believe that there is a new explosion of creative voices across Southeast Asia and in Asia in terms of fashion image-making. I feel inspired and encouraged to be a part of it.
What were the biggest challenges you faced during the process of completing the project, and how did you solve them?
I would say that the most challenging part is the shooting process. It was raining heavily when we were shooting the outdoor looks and we had to take shelter at a fire station for hours. A group of armed authorities also showed up when we were shooting in the downtown area during nighttime. It was quite scary at first, but it all worked out smoothly.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
With the image series shot in outdoor settings, what were some considerations in the choice of locations and how did they play a role in the narrative that you intended to convey?
There are some images that were shot in my neighbourhood. Others were shot in the downtown area at places we believe are a part of us and represent us as a queer community. The location choices were not pre-meditated and we just decided to go with the flow on set.
I see that most of your works explore the themes of queer and gender identity. What is the significance to you as a Burmese artist in exploring topics of queer in the context of Southeast Asia?
I was selected to participate in the Angkor Photo workshops in Siem Reap, Cambodia last January and I am currently in Bangkok for a residency programme at Bodhisattava Gallery, a LGBTQ+ art space. The experience I have had so far as a queer artist is a rollercoaster. I think I have to circle back in a few years to answer this question.
I have also noticed that flowers were featured significantly in each frame. Could you elaborate more on what they symbolise and also their particular significance to the themes that the project explores?
I believe the resilience and beauty of the lotus flower embodies and is parallel to the queer experience, which therefore becomes a recurring motif throughout the images.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Did you work with a team or collaborators in this series? What was the collaborative process like?
My approach to creating images is all about collaborating. All of the team members involved — the stylist, designers, models, makeup and hair artist are part of the queer community and each of them made contributions from the ideas to the execution. We are friends in real life and we also work together on a daily basis for commercial projects, which is 80% of our paid jobs. So to be working on what we are truly passionate about with zero to no budget is a liberating experience that I would do all over again.
You graduated with a BA in Political Science and Government from the University of Yangon. Why did you eventually choose to work with the medium of photography? How have your studies impacted the way you carried out this project?
Everything that I have learnt and experienced from my time at university has contributed to my point of view of the world and in my art practice as well. The one thing I am attempting to move away from is a scientific approach to stories of human connections, similar to how one would conduct a research project. Now, I try to be honest and have trust in the process by surrendering control to the people involved, the weather, and so on. I believe that the magic that comes with this honesty is incredible.
“The one thing I am attempting to move away from is a scientific approach to stories of human connections, similar to how one would conduct a research project. Now, I try to be honest and have trust in the process by surrendering control to the people involved, the weather, and so on.”
‘Lest We Die Unbloomed’ was featured in Vice Asia and was also shown at the ‘Women’s Intersectional Art Space’ exhibition at the Visual Arts Centre in Singapore last year. What do these achievements mean to you and how do they have an impact on your creative practice?
It is great to be seen and heard! It is important for the queer community to have our existence and stories of our experience displayed in gallery spaces and such platforms. It helps us to navigate a better and clearer path in life as well as reminds us that we exist as a community.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Zicky Le, ‘Lest We Die Unbloomed’, 2022. Image courtesy of the photographer.
Finally, what plans do you have in store for your practice moving forward? Do you have any projects that you are working on?
I am currently working on my first solo exhibition, “I Don’t Trust These Dreams' that will display the works I have created during my three-month residency at Bodhisattava Gallery, Thailand’s first LGBTQ+ art space in Bangkok.
See more of Zicky’s work on Instagram at @zickyf.le.
‘I Don’t Trust These Dreams’ is on view at Bodhisattava Gallery, 18 Thanon Song Prapha, Bangkok from 20 March to 30 May 2023. More information on the exhibition here.